"Carnivàle," Year One

The opening monologue of HBO's "Carnivàle" promises the tale of a clash between two men wielding the powers of good and evil, the latest incarnations of forces that have been battling each other since time immemorial. However, during the entirety of the first twelve-episode season, we don't get to see that clash, though the two men from the story are eventually identified. "Carnivàle" was famously cancelled after two seasons, so I wouldn't be surprised if the pair never get to face off onscreen at all. Instead, it's better to think of "Carnivàle" as the story of two men struggling to survive during the Great Depression, and to understand the influence of supernatural powers on their lives . Ben Hawkins (Nick Stahl) is a young fugitive with strange healing powers who joins up with a travelling carnival, the Carnivàle of the title. Brother Justin (Clancy Brown) is a minister who is guided by strange visions and a strong desire to eradicate sin in the world.

The show primarily stays focused on the carnival storyline, which features the the bulk of the series' regular cast. Samson (Michael J. Anderson) the dwarf runs the show, relaying orders from the unseen owner of Carnivàle, known only as "Management." Jonesy (Tim DeKay) is his right hand man, the chief roustabout with a bum leg. Performers include the blind mentalist Lodz (Patrick Bauchau), Lila the bearded lady (Debra Christofferson), Ruthie the snake charmer (Adrienne Barbeau), Gecko the Lizard man (John Fleck), a pair of conjoined twins (Karyne and Sarah Steben), and the "cootch show" striptease troupe, the Dreifuss family, comprised of father Stumpy (Toby Huss), mother Rita Sue (Cynthia Ettinger), an daughters Libby (Carla Gallo) and Dora Mae (Amanda Aday). Finally, there's Sofie (Clea DuVall), a young tarot card reader, who partners with her mother Apollonia (Diane Salinger) to read people's futures. Apollonia is catatonic and bedridden, but has strong telekinetic and psychic powers, and can speak to Sofie mentally. In Brother Justin's storyline, we also meet his sister Iris (Amy Madigan), and his mentor, Reverend Norman Balthus (Ralph Waite).

"Carnivàle" is a slower paced show, more concerned with building up characters and atmosphere than it is about building up any kind of narrative momentum. There are several very strong self-contained episodes, but largely the series is built on incidental moments and small encounters. It's not until toward the end of the season that the viewer can really appreciate the cumulative weight of all these little moments, and come to realize that all these strange carnival folk are now familiar faces in world that seems to be going terribly wrong. The show's greatest achievement is the recreation of the 1930s, the era of the Dust Bowl and Depression, when an apocalyptic mood hung over America. A feeling of encroaching dread also hangs over Carnivàle, as they're plagued by one calamity after another. It's fitting for a show where our main protagonists, Ben and Brother Justin, are constantly fighting their doubts and fearful of the consequences of taking action.

I understand why the show wasn't more popular, because "Carnivàle" isn't nearly as romantic or nostalgic as it sounds from the premise. There's plenty of mysticism and magic, and there are always some good, picturesque visuals to appreciate, but most episodes also spend a significant amount of time showing us the less glamorous side of life on the road and the extreme poverty of the era. The freaks may all be real and the psychics and mystics actually have special powers, but Samson still regularly has to resort to tricks and cheats in order to keep the show in the black and everyone fed. All the characters have their shades of gray and varying codes of morality. On the one extreme you have Brother Justin and his increasingly disturbing sermons, and on the other you have the Dreifuss family and their unorthodox views on sexuality. Perhaps the only real innocent is Sofie, on the verge of growing up, and surrounded by questionable influences.

However, their world is so wonderfully constructed - not just the way it takes care to get the period details right, but the relationships and the intrigues among the carnival workers, and the way that Ben and Brother Justin gradually learn about their powers. For those who are willing to put aside expectations and take "Carnivàle" on its own terms, the show can become engrossing very quickly. I found the storylines with Ben and Brother Justin weren't nearly as interesting as Sofie's growing pains or the Dreifuss's marriage issues or even Samson's peculiar relationship with Management.

After twelve episodes, I'd be happy to see the bigger storylines start ramping up, or if the show just wants to spend another twelve episodes exploring the dusty Midwest, I'm fine with that too. This is one of those media universes where it's gratifying just to be able to spend some time there and consider the possibilities.
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